¿How verbal writing relates to body action? ¿How to approach the translation and superposition of codes?

We can understand the dramaturgical practice as an exercise of interrogation and composition, that has traditionally mediated the difficult relationship between writing and physical action. The theater was the main place where this practice was institutionally developed. However, in recent years we have witnessed an expansion of the use of that term, not only related to dance or cinema (“dramaturgy of movement or images”), but also related to other fields alien to theatre, like architectural, urban or social spaces. 


This conceptual expansion ran in parallel to the redefinition of the term in its original relationship with the stage. Moreover, the widespread assumption of “performativity” as a model of social organization, alternative or complementary to “theatricality”, and the displacement of the communications tools towards the immaterial and the virtual have also contributed to the transformation of concepts and practices of dramaturgy. "Narrative," "montage", "construction", "articulation", "aggregation", "flow", "weave", "web" ... describe procedures of dramatic composition applicable to a variety of sensitive or abstract materials. However, writing as a concept and as a practice continues to play an unquestionable role in dramaturgical work. How does verbal writing relate to the action? How to confront the masking of the written behind the oral? How to approach the translation and the overlapping of codes? How to overcome the formal closing implicit in the very concept of drama both on stage and in social spaces? These are some questions that will act as stimuli for discussion at this conference, in which lectures will alternate with dialogues, screenings and performances.

Does it make sense to talk of "dramaturgy" in a time dominated by performative practices? When the hegemonic means of communication move towards the immaterial and the virtual, what could be the effectiveness of an exercise that aims to combine such old tasks as writing and acting? None, if the writing is identified with the stroke made by a hand on the paper in an attempt to codify the flow of a lonely thought. None, if acting is conceived as the action of a body lacking of subjectivity and needed in addition of the hand and the eye of the other in order to exist as thought. But the imposition of the performative mode has not permanently removed the theatricality from social and political space, on the contrary, in many cases it works as an incentive of regressive processes, and then theatre, the oldest form of theatre, is again gaining effectiveness as critical speech, practice of resistance or even direct action. Moreover, writing and acting have redefined their theatrical resources and open field of possibilities to the experimentation of new ways of drawing and composition that we can call "dramaturgies."


Actividad subvencionada por el Ministerio de Cultura